Abstract In “Every Minute of Every Day: The Banal as Memoir in Clarence Major’s Such Was the Season,” Kwakiutl L. Dreher illustrates how the novel’s use of the banal—in the form of commercials, anecdotes, and quiet spaces of in-between—lead to a survey of Major’s approach to what might be called memoir. Dreher links this reflective approach to the “post-protest” era of the conservative 1980s, which also realized a continuation of a creative outburst of literary production by black women writers that started in the 1970s, and contends that some parallels can be drawn between Annie Eliza’s (the protagonist of the novel) “memoir” and that literary movement.
Kwakiutl L. Dreher (Sun,) studied this question.